IronFilm

That's nothing, this year I shot 3 music videos for a total of $500....yes you read that right, not $500/ea but $500 total and still managed to make it profitable. I used a single venue, a model who was willing to work for free, 3hrs to film all 3, and about 3hrs on the edits. Yes they look like $500 music videos but that's because they were. Even the audio tracks for each video was recorded live in a single take for each one. Two hours filming the performances and audio live, 1hr filming b-roll and it was a wrap.
I agree with you on the volume thing though, I couldn't do that every month let alone every week. They were a nice break from my normal work, but no way would I want that to be my niche.

Might be niche on the surface as its primarily for live broadcast but this time limited offer might be worth considering for some of the many Ninja V/V+ owners on here.

To recap about the two products (both of which house the Ninja V/V+ but obviously not simultaneously)..
The AtomX Cast turns the Ninja V/V+ into a fully fledged four input switcher complete with a USB-C output for streaming input to broadcast it with your phone/laptop/ipad etc that can accept the webcam standard input (YouTube, Facebook, Skype, Teams etc etc).
Full details here 
https://www.atomos.com/accessories/atomxcast
The Atomos Connect adds a lot of connectivity utility for the Ninja V/V+ including an SDI input, WiFi6 and 1GB Ethernet for streaming and on set remote viewing, simultaneous ProRes and H265 proxy recordings (with timecode), Camera To Cloud to upload live from the camera, wireless timecode and remote control over BLE from an app.
Atomos have also just announced a €99 paid upgrade to add NDI to its output so the camera can be used wirelessly within a standard broadcast protocol.
Full details here
https://www.atomos.com/accessories/atomos-connect
 
On the surface, it might not seem like this bundle has much of an audience here but I think the Atomos Connect adds so much overall utility and AtomX Cast offers a whole new opportunity that its pretty transformative for the Ninja V/V+ and is a real bargain.

The FX30 has timecode too! And has a different UI that is better suited for filmmaking, than one for photography. 
btw, I wouldn't call it "so much worse" though for low light. I'd still happily use the FX30 in low light conditions. 

Interesting is if you use it for external HDMI it can still overheat
I guess it is really for vlogging camera.

I think there are better cameras out there for what this camera is marketed for, but for those who've spent the last several years watching YouTubers gush about the A7Siii or the FX3 but couldn't afford one, I think this will be popular with them. I think we forget that the "famous" YouTubers are but a small fraction of those trying to create successful YouTube channels. There are millions of people on there trying to become the next big YouTuber but with limited resources. This is a camera that will probably appeal to them. They were probably ready to whip their credit cards out the second every reviewer said "it's like a A7Siii but for half the price."

About being overpriced, I think that a even better example is the S5 II, which have a (good) EVF, internal cooling, 24mp (better oversampling), waveforms, a mechanical shutter...for $2000.

In the group that I am that people bought ZV-E10s in troves, everybody liked the camera, but...the only ones thinking of getting one are the FX3 users, as a second body.

ZV-E10 is $700. With the $1300 difference, they could buy lenses (Viltrox is VERY popular in that group too). And to upgrade from the ZV-E10 to ZV-E1, the user will have probably to upgrade it's lenses too. ZV-E10 users are not the target of this one.

Canon users really have a victim complex. Of course it is a flaw. As is the plasticky body, the single card slot, the insane crop needed to get usable stabilization, the overheating, etc. The difference is that Sony has more credibility with people because they haven't spent the last decade dicking people around while Canon has, so people are a lot less fervid in their criticism.
If you want to criticize Sony then their firmware upgrades are a great place to start. It's ridiculous that they don't push some of these upgrades that are available on cheaper cameras to their more expensive ones, given the hardware is capable of it. Not everything on the ZV-E1 can be carried over to older cameras, but a lot of it can be and SHOULD BE if Sony values their customers. 
Finally, can't understand the complaint of the sensor. 12 megapixels isn't a flaw because it has a purpose: better low light. If you don't need those low light capabilities or just want more megapixels then you should get the A7IV. 

Over-priced trash.
OK, it has some individual elements, but as a whole?
Nah.
FX30 easily. Or if you want a mechanical shutter (and other than Z9, I would), then S5ii, R6ii, R8, XH2/s and maybe even Nikon Z6ii…
Or Sony’s own A7iv.
This new Sony however seems to be one of those ‘paper spec cameras’ but in any real world use, is a bit shite.
I don’t like it. I had a ZV1 and I did like that. This doesn’t fix any of the (few) issues I had with the ZV1.
Neither did the other ‘in between’ one whose name I forget… ZVsomething else.
I’d rather they just have them girls names or something as it would be easier to remember…

This will probably do well for people producing social media content for businesses, but it'd do much better if they'd included an open gate mode so people could output video to the aspect ratios each service uses. Maybe it's a limit to the sensor size?

For pros FX30 is a much more reliable camera with the active cooling.
 
Sony should have priced this at $1500 to match the R8, at $2200 it is a bit overpriced with no evf, no mechanical shutter (have fun take photo under fluorescent or some odd light) , overheats in 4k60p, no crop mode 4k.

FX30 has active cooling so no overheating to start with. Much better form factor and higher quality build, full HDMI, RAW out, Cine EI mode, top handle with XLR unit, dual card slots. Supersampled 4K so sharper image. APS-C sensor though so much worst low light.
They threw a bunch of stuff inside the ZE1 but with the massive overheating its all kind of useless for any type of serious work or simply again hot locations. 

honestly the low light of A7S3 is a little over rated imo. its actually a 48MP quad bayer sensor so not actually bigger photo sites.
marketing aside if you just compare this cameras price point and its specs to the competition (S5ii, R6ii) that's when you realise how stingy Sony went on specs.
Actually the test I saw was the camera overheating in 30mn in XAVC-I in 24p in normal indoor conditions !!! Going LongGop extends the time and 8-bit as well obviously.
Gerald Undones video is up now and the overheating jumps down from 2 hours to 1 hour when ambient temperature rises from 22 to 24 degrees Celsius. The camera will probably be completely unusable in summer / hot locations.
I'm not even speaking of 4K60p & 4K120p.
This is really my main gripe about the camera. No matter the target. 

Totally depends on your workflow. If you are shooting log and want the heavy grading workflow, in most cases 10bit is a must. If you are using a rec709 profile in camera and don't care a whole lot, then in most cases 8bit is fine. To me 10bit is simply an intermediate codec that gets us to an eventual 8bit final output, like log to rec709. 

Yeah music videos have bad budgets, but at least they're only half a day long to perhaps maaaybe as long as a four day shoot. 
But a feature film will be 10x as long!

eh, if you're rolling for hours (days even!) covering some random small business conference in a hotel that's only going to be put on YT (or perhaps even only used internally) then 8bit is perfectly fine. 

eh, if you're rolling for hours (days even!) covering some random small business conference in a hotel that's only going to be put on YT (or perhaps even only used internally) then 8bit is perfectly fine. 

eh, if you're rolling for hours (days even!) covering some random small business conference in a hotel that's only going to be put on YT (or perhaps even only used internally) then 8bit is perfectly fine. 

eh, if you're rolling for hours (days even!) covering some random small business conference in a hotel that's only going to be put on YT (or perhaps even only used internally) then 8bit is perfectly fine. 

eh, if you're rolling for hours (days even!) covering some random small business conference in a hotel that's only going to be put on YT (or perhaps even only used internally) then 8bit is perfectly fine. 

I have inside information that Version 4 was referred internally as "The Reid Debacle"!

I suppose this is a necessity when you have Arri's poor wireless track record. The WCU4 was absolutely terrible when it came to wireless performance so whatever can help the situation is good I suppose. The Hi5 is supposedly a big step up ....which it needs to be.

Lol, I saw that video and I usually quite like Sam Holland but the title is a little bit clickbaity. For anyone that's interested he's talking about focus transition which has been around since the GH5. Maybe the reason that nobody's talking about it is because everyone has been aware of its existence since 2017! I guess it was missing from the S5 though, which is what he seems to be most familiar with.
 

HIDDEN S5ii Feature NOBODY is Talking About!
https://www.youtube.com/watch?v=vxZdTozSzcI
Panasonic also posted a message that preorders and demand for S5 II is way bigger than estimated and cameras will be in short supply for some time.
 
 

Oh look, the Camera Dept is finally catching up with the Sound Dept in caring about the RF environment and doing scans!

https://www.newsshooter.com/2023/03/21/arri-hi-5-sup-2-0/ 

 

In the long run people can no more ignore the laws of economics than they can ignore the laws of gravity. 
But dpreview would have made a tonne in commissions / affiliate fees from the sales they sent to Amazon (ok, maybe not heaps of Z9 sales, but lots of sales in total none the less).
I'd have hoped they could have kept costs under control enough so that dpreview wouldn't have been shut down, as it should be easy to keep a site with dpreview's history profitable. Hard decisions might have needed to have been made, but it would've been very doable.